#Cincinnati opera

[underthecitysky]

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Paul sent a video to the Cincinnati Opera who is putting on his Liverpool Oratorio ❤️

[lilyisfine]

Thinking about him…

Edgardoll

[alostchord]

Holy shit. The Cincinnati Opera's staging of Paul McCartney's Liverpool Oratorio was so freaking good

[oscarwilde-scholar]

Patti in Cincinnati

On February 20, 1882 Wilde was in Cincinnati but not to lecture. It was a stopover on his way to Louisville, KY where he lectured on the following night. Wilde did return to Cincinnati to lecture, as he had planned to do on February 23. But there was a special reason Wilde was in Cincinnati that day. He was there for the opera. (more…) “”

[jbaileyfansite]

Interview with The Telegraph (2023)

We all know what is meant by McCarthyism. It ­popularly refers to the first half of the 1950s, when Senator Joseph R McCarthy led a ruthless ­campaign to hound suspected communists out of the US government. What’s less well-remembered than the Red Menace is the Lavender Scare: by an executive order from President Eisenhower, McCarthyism also targeted gays and lesbians. “If you want to be against McCarthy, boys,” the senator once told the press, “you’ve got to be either a Communist or a c--ksucker.”

Thus gay men and women, living closeted lives as they worked for the state, were targeted by sinister-sounding bodies: the FBI’s Sex ­Deviance Investigations Unit, ­Washington DC police’s Sex ­Perversion Elimination Program and the Department of State’s M Unit. All sought to identify ­government employees deemed to be security risks vulnerable to blackmail.

Popular culture lost sight of the Lavender Scare until it was brought into the light in the US by Thomas Mallon’s 2007 novel Fellow ­Travelers. Set mostly in the early 1950s, it told of a tangled romance between two men; Hawkins “Hawk” Fuller, a handsome war veteran and political fixer who steers clear of emotional attachment until he meets Tim Laughlin, a sweet young Catholic newcomer to DC whom he nicknames Skippy and sets up in the office of a Republican senator.

The novel was not published in the UK. But now it has been adapted for television, and one piece of ­casting in particular feels ­calculated to get the attention of audiences beyond the US: Laughlin is played by British actor Jonathan Bailey, best known as the Regency heartthrob Anthony, 9th Viscount Bridgerton.

His co-star is the American Matt Bomer, who, like Bailey, professes ignorance of what the New York Times, in its review of the novel, referred to as “the Lavender Hill mob”. “It’s a chapter of LGBTQIA history that I was completely ­unaware of,” he says.

This is not the first time the novel has been adapted – it was staged as an opera in Cincinnati in 2016. By then it had already caught the attention of Ron Nyswaner, who laboured over bringing the book to the screen for the best part of a ­decade. Best known for his script for Philadelphia, the 1993 Aids courtroom drama which earned Tom Hanks his first Oscar, it was his stint as a producer of Homeland that persuaded Showtime to fund an expensive eight-part decades-spanning drama. “I’m still in ­disbelief that we were able to tell this story on the scale that we were able to tell it,” says Bomer, who is also an executive producer on the drama.

The scale is considerable. The period detail of 1950s Washington, in both corridors of power and gay demimonde, is lavishly recreated. And as the story progresses it parts company with the novel, which opens with Hawk looking back at the closure of his career as a ­diplomat in Tallinn in 1991. Nyswaner’s script expands to take in other pivots in modern US ­history: the Civil Rights movement, the Vietnam War, and the spread of Aids in the 1980s, when the now-married Hawk and the dying Laughlin meet for a final reckoning.

I met the drama’s two stars in London earlier in the summer, before the actors’ strike in ­Hollywood put a stop to such encounters. It was the first time they’d seen each other since the end of the shoot. Bomer, though just off the plane and heavily jet-lagged, exudes a chiselled, blue-eyed intensity. Bailey fizzes with puppyish energy. Both are themselves gay and Bailey in particular sees their casting as a sign of ­progress. “We would not be playing these parts five or 10 years ago,” he says. The highlights of his CV are mix and match. He has played mainly straight characters on ­television in the likes of Broadchurch, Crashing and W1A, and gay characters on stage in the Sondheim musical Company and Mike Bartlett’s play C--k in the West End. 

The career of Bomer, 10 years his senior, looks a little more linear. His most high-profile film role is as an object of ladies’ lust in male-strippers drama Magic Mike and its sequel. But in 2014 he won a Golden Globe playing a closeted journalist in HBO’s adaptation of Larry ­Kramer’s play The Normal Heart. In 2018, he made his Broadway debut as part of an exclusively gay cast reviving The Boys in the Band, a ­portrait of gay life in 1960s New York. 

Earlier on the day we met, ­Stanley Tucci had said on Desert Island Discs that he doesn’t see why straight actors shouldn’t play gay characters. “I think it’s incredibly complicated and nuanced,” says Bailey with a sigh. “You just want to make sure that everyone feels there’s enough space at the table. Everyone who is panicking that they’re never going to be able to play outside their own experience is wasting their energy.”

Bomer counters that it ought to cut both ways, that gay actors should be allowed to play straight. He speaks darkly of movie ­producers who “wouldn’t hire me because of who I was”, of gay actors who “weren’t even given a shot. A lot of it boils down to opportunity. Was ­everyone given the opportunity for the role? There is something about seeing the most authentic version of who you are represented on screen. It gives you hope.”

In Fellow Travelers that ­authenticity is portrayed most unswervingly in the bedroom, which the plot requires Hawk and Laughlin to visit often. “I haven’t necessarily really seen gay intimacy in a way that I would want to,” says Bailey. I gently remind him of Linus Roache, who plays a senator in ­Fellow Travelers but, back in 1994, starred in Jimmy McGovern’s Priest as a Catholic priest struggling with his sexuality – graphically so in a central scene with Robert Carlyle. “Oh yeah, that’s true,” he says. “I looked to that a lot.” 

As is on trend for male actors ­nowadays, both leads look ­impeccable with their shirts off in low honeyed lighting. “Hawk is ex-military and he also wants to appeal to people in bathroom stalls,” ­reasons Bomer, who did period-appropriate Royal Canadian Air Force drills and looks no less ­pneumatic than he did in Magic Mike.

Bailey concedes that Laughlin, who orders milk the first time we meet him, boasts the body of a Greek god for the simple reason that the shoot overlapped with Bridgerton (yes, he confirms, the newly married Anthony is back for the third season). “There’s no way Tim would have had a Bridgerton body, but what can you do if you’re commuting? I was like, I really want to lose weight to tell Tim’s story, but I lost fat and just got really ripped.”

How resonant is the history ­portrayed in Fellow Travelers to today? It’s easy to play six degrees of separation between now and then. For instance, McCarthy’s ­closeted sidekick Roy Cohn is a lead character (played here by Will Brill). A ferocious prosecutor of both communists and gays, he would go on to be Donald Trump’s lawyer, before dying of complications from Aids. It was Trump’s three appointees to the Supreme Court who this summer enabled a 6-3 ruling releasing businesses and organisations from the obligation to treat same-sex couples equally. The landmark ruling occurred just days before I met the actors, and has been widely interpreted as a ­profound attack on LGBT rights.

“There is an entire generation of men and women who suffered and struggled and loved under a ­government that felt that its morals were more important than their personal freedoms,” says Bomer. “And that’s exactly what we see happening today. Whether it’s McCarthy or the current Supreme Court justices, are morals more important than freedoms?”

Source

[dustedmagazine]

Butthole Surfers — Rembrandt Pussyhorse (Matador)

Photo by Jerry Milton

Given the amount of ink spilled and pixels configured concerning the music and cultural phenomena associated with the Butthole Surfers, it seems a daunting task to find anything new to say about the band — even about a record as excellent as Rembrandt Pussyhorse, first released 38 years ago (say what) on Touch and Go and presently being given the vinyl reissue treatment by Matador. But two things obviate the perceived difficulty registered just above: somehow, someway, Rembrandt Pussyhorse sounds like it could have come out yesterday on some currently über-hip, punk-adjacent underground label (say, Feel It Records from Cincinnati, or London’s La Vida Es un Mus); and for certain, it feels a very particular, vividly upsetting sort of way to listen to these demented, raging and inspired songs in March of 2024, as we struggle and lurch our way toward spring.

For example: Give “Strangers Die Everyday” a spin and try not to think about Gaza. That shouldn’t be a compelling match, of past music with present, all-too-real event. The song features a nigh-histrionic, Bela-Lugosi-as-the-Count organ, plastic fangs chewing on cheap, drywall scenery. Gibby Haynes does some of his bullhorn-mediated vocal antics, and sounds of bad plumbing bubble up into the mix. It’s the Butts in nightmare mode, which was always a vertiginous blend of ruthless ugliness and brain-rattled hilarity, and there is nothing funny about Gaza. Nothing at all. But keep listening. “Strangers Die Everyday” ends up expressing a deranged pathos. The organ is hammy, but the melody is mournful. The glurping, glooping bubbling evokes looking down a mostly stopped-up drain, which is always a bum-out experience, woven into the textures of the “Everyday” world nodded to in the song’s title. It situates the sadness and disgust in a feeling tone. But just exactly where is your everyday world? If you can tune in and make an additional metaphorical leap (to all the drains in Gaza, and in Myanmar, and in Ethiopia, and elsewhere, all of them backed up and drowned by unstanched cataracts of blood, from the bodies of all of those strangers), you will feel a particular sort of weight in your gut.

The Butts’ best stuff always worked the spaces in which earnestness, nausea and a decidedly bonkers mirthfulness overlap. Perhaps “collide” is a better word for the music’s resulting dynamic. In their early recordings, you can hear them bashing and stumbling their way toward ever-more-effective smash-ups of sharply opposing affects: the delirious one-two punch of “Suicide” and “The Revenge of Anus Presley” from Butthole Surfers (1983); the ebullient, anxious, headlong hallucination that is “Dum Dum” from …Another Man’s Sac (1984). The best performance of that sort of collision on Rembrandt Pussyhorse is “Perry,” which initially registers as a hyperbolic parody of the theme music to Perry Mason. Natch, let the laffs commence. The organ is back, but this time it’s in full Phantom-of-the-Opera mode, rollicking and tempestuous, Lon Chaney grinning horribly. Haynes delivers the laffs, howling and whooping himself breathless.

Keep listening. “Perry” takes its turn toward something more than parodic goofiness when Haynes provides a series of anaphoric itineraries: “It’s about coming of age / It’s about learning how to do it / It’s about learning how to experience things the way they ought to be experienced….” And so on. It’s a reckless thing, following Haynes into that improvisatory philosophical space: How, precisely, should things be experienced? What would a Butthole Surfer say? “It’s talking about being the slave boy / It’s talking about giving head when you’re 6 years old / It’s talking about enjoying these things….” You can just about see Raymond Burr blanch, even in black and white — and sure, it’s the Butts being the Butts, invoking a series of transgressive, taboo images, perhaps only for the charge of the transgression itself.

But there are other ways to hear the transgression. We might take the reference to Perry Mason a little more seriously. In the summer of 1986, just months after Rembrandt Pussyhorse was released, the Meese Commission on Pornography published its final report, a Puritanical screed that sought to throw the full moral weight of the Justice Department (yeah, yeah, I know) behind a juridical condemnation and potential outlawing of sex work, porn consumption and kink. The most liberal — in the hard sense of that word — readings of the Report’s recommendations would likely sanction tossing a band called the Butthole Surfers and songs like “Perry” (and “Lady Sniff,” “The Shah Sleeps in Lee Harvey’s Grave,” “Moving to Florida,” and later just about every song on Locust Abortion Technician and Hairway to Steven…) onto the pile with all the copies of Hustler and Torso and the endless numbers of VCAvideocassettes — not to mention the models and actors themselves, and all the folks who watched them and looked at them and felt pleasure.

It's not a hard history to uncover when you listen closely. Reagan’s reinvigoration of the American Right in part drew upon Jerry Falwell’s political turn, and the idea that evangelicals could have real power if they participated in the electorate, rather than regarding it as the fallen domain of a lesser law. In 2024, the Republican Party takes that evangelical vote for granted, and its full complicity with the array of MAGA-affiliated constituencies has created a new set of political alliances, issuing in events like January 6 and the Q Shaman leading a prayer service in the evacuated Senate chamber. Not sure even Haynes could conjure that image. Return to the record. The echoes of Raymond Burr’s voice, in full closing-statement declamation, reverberate out from “Perry” to the Butts’ magisterial cover of “American Woman”: “All right, you little creep, come out of there! We know your name!” We’ve got you surrounded! Where’s Mike Pence?

No one would argue that the Butts possessed anything like socio-political prescience when they recorded Rembrandt Pussyhorse. They were too busy experiencing things the way they had to experience them, to make the music that they had to make. And some of us enjoyed it. Still do. That may be reason enough to return to the record — or to reissue it. But the band somehow tapped into some very serious energies circulating in the mid-1980s: the Reagan Administration’s bloody-minded Christian nationalism (read some of his speeches, you’ll hear it); the Israeli Labor Party’s “Iron Fist” policy of 1985 and the accompanying intensification of settler activity, all of which would soon lead to the First Intifada. And here we are: Gaza on fire and self-identified Christian Nationalists like MTG and Tommy Tuberville setting policy. Here we are, in the “Whirling Hall of Knives” Haynes and Paul Leary and the rest of the band set in motion in 1986. Even today, especially today, it cuts deep. It draws blood. Strangers die everyday.

Jonathan Shaw

[broadwaydivastournament]

Broadway Divas Tournament: 2A

Donna Murphy (1959) “DONNA MURPHY (Anna) received the 1996 Tony Award, as well as Drama Desk and Outer Critics Circle nominations for her performance in The King and I. She also received the 1994 Tony and Drama Desk Awards for her portrayal of Fosca in Stephen Sondheim and James Lapine’s Passion. Last summer she was featured as Dorothy Trowbridge in Mr. Lapine’s Twelve Dreams at Lincoln Center (Drama Desk nomination). Other Broadway Credits include: Edwin Drood in The Mystery of Edwin Drood, The Human Comedy, and They’re Playing Our Song. Off-B’way: The Whore in Michael John LaChuisa’s Hello Again (Drama Desk nom.), Rose in Song of Singapore (Drama Desk, Outer Critics Circle noms.), Hey Love; The Songs of Mary Rodgers, Privates on Parade, Showing Off, Birds of Paradise, A…My Name is Alice, Little Shop of Horrors. Regional work includes Miss Julie (McCarter), Pal Joey (Huntington), Williamstown, Portland Shage Co. and Goodspeed. She made her feature film debut in Jade, and co-stared (sp) in “Someone Had to Be Benny” for HBO. Other TV includes: Francesa Cross on Stephen Bocho’s “Murder One,” “Law & Order,” “A Table at Ciro’s” (PBS Great Performances), “Another World” and the American Playhouse Production of Passion. Ms. Murphy can be heard on the original cast recordings of Passion (Grammy Award), and Hello Again, and is featured on Leonard Bernstein’s New York on Electra/Noneshuch.” – Playbill bio from The King and I, December 1996.

Mary Beth Peil (1940) "MARY BETH PEIL (Anna Leonowens), before joining the 1982 Los Angeles production of The King and I, received national acclaim for her television portrayal of Alma Winemiller in Lee Hoiby's opera Summer and Smoke (based on the Tennessee Williams play), produced by PBS and the Chicago Opera Theatre. As a member of New York's Theatre for a New Audience she has apperaed in many productions of Shakespeare. A Graduate of Northwestern University and a First Prize winner of the Metropolitian Opera Auditions, Mary Beth has been featured in opera and musical theatre with such companies as The Metropolitan Opera National Company, the New York City Opera, the Lake George Opera and the Minnesota Opera. She has appeared as soloist with the New York Philharmonic, Honolulu Symphony, Buffalo Philharmonic, the New York Young Concert Artists and the Cincinnati Area Artists Series. Favorite musical theatre roles that she has performed include Rosabella in Most Happy Fella, Magnolia in Show Boat and Kate in Kiss Me, Kate." - Playbill bio from The King and I, March, 1985.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"We have Donna Murphy as Dolly. We have Donna Murphy as Aurelia. What are we doing to get Donna Murphy in a Mame revival so she can hit the Jerry Herman trifecta? I need this woman back on a stage immediately and genuinely, I cannot tell you how much money I'd be realistically willing to shell out. And on a more personal note? What do I have to do to get Donna Murphy to look at me like she wants to devour me whole? The things I want to do to this woman... She has chemistry with every single person she crosses paths with. I need her carnally."

"Mary Beth Peil's hair deserves a Tony Award of its own. She started going grey almost twenty years ago and never looked back. A grey-haired octogenarian who's actively out here being hot and sexy and showing skin is quite possible one of the hottest things in the world. Let me reiterate: I want to fuck this old woman."

[inevitablemoment]

My "Back to The Future: The Musical" Experience

Okay, my friends. It finally happened... I saw Back to the Future: The Musical live and in person!

So, it wasn't stopping in my state, so we went to Cleveland to see it at the KeyBank Theater in Playhouse Square (it's like a coalition of theaters in one place-- there's even a walkway connecting them, which was helpful during this heatwave).

Our seats were originally in the balcony, but (I don't know if I've shared this before) I have a deathly fear of heights.

The first time that I sat in a balcony was at a performance of Phantom the Opera on Broadway. The Majestic is a very old theater, so the steps were very steep, and we were very high up. I was on the verge on a panic attack, and my parents calmed me down, reminding me that we were about to see the show. The next day, we saw Anastasia at the Broadhurst, also in the balcony, and I was a lot calmer. When we saw the tour of the Miss Saigon revival in Cincinnati, we sat in loge (the first eight rows of the balcony) and I wasn't as anxious as I was in New York, but I felt a little nauseous throughout the show. The last show before this one was Hadestown in New York the spring before the last. The rows in front of us were at my feet instead of my knees, so I felt more exposed, but we were closer to the exit, and once the show started, I was fine.

But this time, I just couldn't do it. I tried talking with my parents about random stuff, focusing on the set, but the latter just made me feel worse. My chest was getting that tight feeling, and I felt like I was going to throw up. The way that our seats were was that my dad was in the row in front of us and we were behind him, and my mom's seat was close to a railing. She told me that if no one sat in the seats next to me, I could probably take them. Then two guys came in, and one of them sat in the chair that I was using as a security grip. I figured that I could sit in one of the seats in my dad's row if no one sat there, and then these ladies came in and filled up the rest of the row.

Just as the show started, I felt like I couldn't breathe and I had to get out of there. My dad followed and tried to calm me down. I wanted to see this show-- I've been hoping to see it for the past four years-- but I couldn't stay up in that balcony. I saw one of the ushers coming, and I told her about my situation. She told the house manager, and he was able to find us three empty seats in the way back, a row ahead from where the ushers would sit for the show.

Now, onto the show-- spoilers under the cut and that kind of shit.

So, my almost-panic attack flared up just as the show was starting, so I'm sorry to say that I don't have much to say about the opening.

But I did love the screen projections showing the audience traveling from that date in Cleveland to 1985 in Hill Valley.

The audience erupted in applause when Marty entered (just as I was making my way down those steep steps). Even if I was upset, I loved the energy from this audience. As a theater kid, one of the things that can get me down is when the audience isn't as into the show as you are, so knowing that this audience was already so excited made me so happy.

One thing that I could hear while the manager was looking for ground-level seats was that "Only A Matter Of Time" contained the same melody as the film's iconic theme, and I geeked out. Something that I've picked up since I became interested in musical theater was noticing recurring themes in songs, and I just loved this.

I saw Caden Brauch as Marty, and he sounds so much like MJF. Not as much as Olly Dobson, but quite a vocal resemblance.

Now, let's get to "Wherever We're Going."

I'm such a hardcore Parkfly shipper and I've already listened to that song about a hundred times before (I wanted to keep the rest of the soundtrack as a surprise).

It's like Glen Ballard took every thought that I've had about them and was able to make it into the most perfect song.

Caden and Jennifer's actress, Kiara Lee, had great chemistry that reached all the way to the back of the theater, and the way that their voices melded together was... transcendent (can these two be the next Orpheus and Eurydice in Hadestown, please?).

I loved the energy of the actress playing the Save The Clock Tower lady; it helped me see how this was pretty much canvassing before the days of Greenpeace.

Moving onto the next scene, George's actor, Burke Swanson, was amazing. He got the voice and the mannerisms down pat.

Biff, played by Ethan Rogers, was such a sleazy asshole.

"Hello, Is Anybody Home?" did a great job of portraying the dysfunctional nature of the McFly family in this timeline, but how they're dysfunctional in a sad way.

Doc's actor, Don Stephenson, was incredible. You could tell that he was taking inspiration from Christopher Lloyd, but he definitely made the role his own. Though, I will say that I caught a bit of another certain Christopher Lloyd character (Jim Ignatowksi) in his portrayal.

"Doc, who are the girls?" "I don't know-- they just show up whenever I start singing!" Queuing up essay on how the musical adaptation is just a timeline where Poky has infected Hill Valley with the Apotheosis...

I was a little skeptical about the added detail of the DeLorean being voice-activated, but it did give us a couple of the funniest scenes in the show.

The whole thing with the Peabody farm had to be eliminated from the libretto, so we lost the Twin Pine/Lone Pine bit.

"Cake" was a song built on irony, and it is glorious because of it.

We also lost the "Tab and Pepsi Free" bit, too.

The sudden shift into "Got No Future (Reprise)" was jarring in such a funny way; it honestly gave me some Team StarKid vibes.

"Gotta Start Somewhere" is probably one of the best new songs written for the show. Cartreze Tucker, who doubled as Goldie and Marvin Berry, stole the show in every scene that he was in.

I love "My Myopia."

It establishes just how down bad George was for Lorraine long before they were supposed to meet.

Lorraine's actress, Zan Berube, perfectly nailed the "horny but repressed Catholic girl with an idealized view of romantic relationships" vibe that I get from teenaged Lorraine.

And I love how they kept the detail about her mother being pregnant again.

When they were doing the "Scottish hamburger" bit, I didn't get it until Doc said "McDonald's." Then it was hilarious.

People were already laughing before the punchline of the Ronald Reagan joke, and I loved it.

Doc repeating "A bolt of lightning" with the same inflection sent me.

That brief interaction between Doc and Strickland made me laugh so much that I almost missed the beginning of the next scene. Makes me wonder if the game's canon applies to the musical 'verse.

"She's a goddess." Oh, George, I knew you were down bad for her. The original SIMP.

My heart goes wild whenever I watch the "I'm your density" scene in the film, and the musical recaptured that feeling perfectly.

I had mixed feelings about combining the school scene and the chase scene, but considering theatrical logistics, I think that they melded it together very well.

Strickland hiding in a locker to smoke was hilarious and a nice nod to Part II.

The Star Wars shoutout came out of nowhere, but it was a good laugh.

My only complaint about the Act 1 finale was that it didn't involve Biff being covered in manure. Cafeteria garbage just doesn't as cathartic a feeling as cow shit.

I'm sorry to say this, but "21st Century" was probably a song that they could've done without, but the joke about 2020 was funny.

I need to do a full ranking of the songs, but "Put Your Mind To It" is one of my top favorites.

But "For The Dreamers" is definitely up high. It actually moved me to almost tears, and I had already been crying because I wanted to get down from the balcony.

I loved the bit with the model of the town, and the addition of Marty complimenting Doc on it.

"Only A Matter Of Time (Reprise)," you have my heart. The longing, the melancholia...

I can tell you that the audience ERUPTED into applause when George punched Biff, and when George and Lorraine kissed. I loved this audience so much.

"Johnny B. Goode" was just as epic as it is in the film. That's all that I have to say.

I find it so painfully ironic that while a fictional character was able to overcome his fear of heights, I couldn't.

And going back to the voice-activated DeLorean, I loved that Marty tried to do an impression of Doc to get around the commands.

Caden Brauch's acting when Marty thought that he had failed to save Doc and then the relief of Doc being alive... I hope this boy transfers to the Broadway production soon because he deserves it.

And the reunion with Jennifer... <3

MY BOY'S PERFORMING!!!!!!!

The flying DeLorean... THE HELICOPTER FROM MISS SAIGON CAN SUCK IT!

I got pretty excited when Marty and Doc were waving at the audience.

During the curtain call, people were beginning to leave even though there was still another number left.

"Back In Time" was just so much fun; it really hit home how this musical celebrates the film and the fans.

Now, away from initial reactions -- the special effects were jaw-dropping, the performances were stellar, the sets, costumes, and choreography were to die for, the music was, in the words of Corey Dorris, "fuckin' transcendent."

My one complaint, though, is how loud it was. Rock concert loud. I felt my purse vibrating and I was afraid that I had forgotten to turn off my phone-- it was just from the sound.

The storm sequence kinda comes off as a shock-- there's about a minute of dead silence before the sound effects kicks in. And it is LOUD.

If you're going to see this show and you're sensitive to loud noises, definitely bring headphones. I brought mine anyway, but I had theme on for the whole show instead of acclimatizing to the noise like I usually do.

Also, considering how well I know the plot of the movie, this show seemed incredibly fast-paced.

All in all, this was one of the best musicals that I have ever seen. It is already a favorite of mine, and I am now planning on convincing my parents into letting us see it when it stops in Durham, NC next year.

So, BTTF is a now a musical, Bright Lights Big City is a musical, Family Ties has a straight play that canonizes Ellex... if we continue the trend of Michael J. Fox properties be adapted for the stage, I hope The Frighteners is next. Just imagine what that would be like!

[holly-louisexox]

Ribcage X Andy Biersack- Part 33

Masterlist

"There's one thing you should know about me Delia Vincent, I don't date. Got no heart to break and emptiness is safe, keep it that way."

He was adamant in his choices...

...But then things changed.

"Delia, it's so nice to meet you, I'm Amy." Andy's mum gushes as she carefully pulls Delia into a small and welcoming hug before letting go again. "Please, sit down love, make yourself comfortable."

"Thank you, it's nice to meet you too." Delia smiles back politely as she sits on the sofa in the living room.

"Andy told me what happened and I saw the news articles online, I'm so sorry dear. If ever you need anything you can always come to us, now that you're with Andy you're a part of this family." Amy explains warmly just as Andy sits on the sofa next to Delia.

"I appreciate that a lot, thank you." Delia continues to smile to show her gratitude.

"Alright mum, no need to get all sappy." Andy laughs awkwardly whilst looking at his mum.

"Andy, she's just being nice." Delia shakes her head slightly whilst playfully whacking Andy's arm which makes him laugh more.

"You must be Delia!" Andy's dad exclaims as he walks into the living room "Andy has told us so much about you, don't worry all good things. I'm Chris by the way."

"I forgot how embarrassing parents can be at times like this." Andy shakes his head slightly before regaining his composure "Dad was actually the original band manager before the band signed to the first record deal."

"No way, that's so cool! I apologise, I wasn't aware." Delia was in slight shock and awe knowing Andy's dad helped the band get to where they are now.

"No worries Delia." Chris grins as he goes to sit down in the unoccupied armchair "It was fun whilst it lasted, I couldn't do it now at my age, that shit is tiring."

"Yeah, it's definitely a lot, although I did enjoy seeing all of the different sights." Delia explains as she thinks back to all the cool things she had seen on the road.

"We saw Phantom of the Opera together whilst in New York." Andy tells his parents whilst grinning ear to ear; it was very clear how much Andy loved the musical.

"Again? Andy how many times have you seen that show now?" Chris pokes fun at his son "Seriously, this guy could probably quote the whole musical word for word at this rate, wouldn't surprise me if he did know it that well."

"I think about 6 times live now?" Andy questions himself clearly trying to recount the times he's seen it "Delia had expressed her love for the show though and said she hadn't seen it. I wasn't about to turn down the opportunity to see it live again, so I managed to get some last minute tickets in a box."

"A theatre trip for a first date, when did you become so romantic Andy?" Amy laughs and joins in on the teasing that Chris had started.

"It wasn't actually a first date." Andy begins to explain as he gently takes Delia's hand as if to make a point. "I actually didn't want to fall for Delia so I made a plan of taking her to see Phantom to let her down easy. Safe to say that did not work to plan, but I'm glad it didn't."

"Sometimes we don't realise what's right in front of us before we could potentially lose it." Chris nods slightly understanding Andy's choices "It's good to see you happy again though son, I'm glad the old you is back."

"Yeah, it's good to be back." Andy is sincere in his words as he awkwardly looks down at his and Delia's entwined hands.

"So Delia, do you live in Cincinnati or are you just here visiting?" Amy asks trying to change the subject and rid the slightly awkward silence of the air.

"I do, I live here with my parents still but I may be moving to LA soon." Delia explains whilst discreetly squeezing Andy's hand.

"Oh that sounds lovely!" Amy grins "Have you always been in Cincinnati then?"

"Erm, no actually, When I went to university to study production and tech I went to Italy." Delia reveals.

"Italy! Oh I've said to Chris many a times I want to visit there, it looks gorgeous. What was it like? How long were you there for?" Amy gets a little excited at the mention of the country.

"Oh Italy is gorgeous and I would love to go back myself at some point, 5 years just wasn't enough." Delia laughs slightly at Amy's excited mannerism "I went there because the university offered a really good course and I'm actually half Italian myself. My dad was born and raised there."

"Oh how lovely, I've always been interested in the idea of tracking back family and making a family tree but Chris just laughs at me and claims the websites for the files can be too expensive." Amy reveals which makes Chris role his eyes.

"I don't think it's that expensive depending on what website you use, I just know it's extremely time consuming and addictive. Mum made our family tree and tracked it all the way back to the 1600s but she spent hours doing it." Delia clarifies.

"Delia, as lovely as you are, please do not give Amy ideas." Chris laughs.

"Dad, don't be boring." Andy smirks "Mum, if you really wanna make the family tree tell me how much the documents are and I'll pay it."

"Oh thank you dear." Amy smiles at her son before looking at the clock that was sat on the living room wall "Crap, is that the time? I need to get dinner started. Chris, you put the potatoes on a slow cook earlier right?"

"Yes, I sorted the potatoes dear, don't worry." Chris confirms with a nod.

"Delia, you're staying for dinner right dear? It would be wonderful to get to know you better." Amy expresses

"We're here for dinner mum, remember I said Delia was staying tonight." Andy verifies to his mum.

"Oh right, yes, of course." Amy stutters as she makes her way to the kitchen "Sorry, it's been a crazy few days with making sure everything is ready for Christmas, it is only a week away now."

"Mum is a bit of a perfectionist when it comes to Christmas." Andy mutters to Delia.

"I heard that!" Amy shouts from the kitchen.

"How?" Andy laughs in shock.

"Mother's just have that super hearing ability, my mum is the same." Delia laughs alongside Andy.

"She's right, although I think it's just women in general. God forbid I say anything bad about your mother." Chris joins in on the laughter.

"You wouldn't dare say anything bad Christopher!" Amy jokingly calls from the kitchen again.

"Of course not dear." Chris calls back trying to conceal his laughter which just made Delia and Andy crack up laughing even further.

--------------------

"So Andy, just remind me again, what date are you flying back to LA?" Amy asks.

As Delia swallowed another bite of the lovely dinner Amy and Chris had made, she felt her heart stop momentarily. Of course she knew Andy would go back to LA at some point, after all, his life was there now; she had not had that conversation with him yet and the thought of him leaving Ohio made her heart hurt. Maybe the ache she felt was a sign that she should go to LA with him, she felt safe and complete with him; she wouldn't want to lose that feeling by having him be a 4 hour flight away from her.

"I'm flying back on the 30th of December, CC is hosting a New Years Eve party this year and wants us all there." Andy nods "Oh yeah, Delia, this was planned way before the tour so we need to message CC later to say you'll be there too, it's CC of course he'll want you there."

Andy wants her at the party with him, Andy wants her in LA with him. The thought alone made her heart flutter as she turns to look at him sending a shy smile. Despite the battle she was still fighting in her head about moving to LA, the side of wanting to move there was winning more and more by the day.

"Yeah, that sounds like fun." Delia nods trying to ignore the butterflies she was feeling in her stomach; although Andy noticed the way she looked at him and sent a small smile of his own.

"Oh that's good, at least you'll till be here a few days after Christmas then so there's no big rush to get back." Amy smiles.

"Got anymore tours coming up Andy?" Chris asks to completely change the subject; he saw the way Delia and Andy looked at each other, like love sick puppies, and as much as he wanted to tease them about it he bit his tongue.

"At the moment nothing is set in stone, but I suspect management are already planning a UK and Europe tour." Andy nods.

"Will you be working that tour Delia?" Chris continues to question; Chris was always wanting to know about the tours the band went on, what could he say, he was the typical proud father and admired Andy for all the hard work and dedication he put into the band.

"I'm not sure, although I would very much like to as I would love to visit England one day." Delia smiles "It depends if I'm hired again or not."

"Of course we're going to hire you again Delia, don't be silly." Andy chuckles lightly "You're great at what you do and the band all love you, plus I'm going to want you there."

"You two are adorable." Amy blurts out.

"Mum, that's embarrassing." Andy groans slightly as the moment was ruined.

"That's not embarrassing, if you want embarrassing I'm sure Delia would love to see some of your earlier performances, especially your in home performances of Phantom and Sweeney Todd." Amy jokingly threatens.

"Mum you wouldn't." Andy continues to complain.

"Don't test me Andrew." Amy winks which just makes Andy roll his eyes.

As much as Andy wanted to protest, he did in fact miss his parents. Being back with them and being able to joke around and chat was refreshing to him. He'd never fully admit it to himself or anyone else, but for the first time in a long time he genuinely felt happy; and he had Delia to thank for all of that. She restored his faith in love and human connection, helped him fix the relationship with his parents and helped him patch up the hole in his heart. He knew none of this was going to be easy because he still had his fears and Delia had her new found fears, but he was willing to do whatever it took to preserve what he had.

Now he just had to hope that nothing was going to come along and take that happiness from him...

[lboogie1906]

Sergeant Powhatan Beaty (October 8, 1837 – December 6, 1916) was a soldier and actor. He served in the Union Army’s 5th US Colored Infantry Regiment throughout the Richmond–Petersburg Campaign. He received the highest military decoration, the Medal of Honor, for taking command of his company at the Battle of Chaffin’s Farm after all officers had been killed or wounded.

By June 1863, Ohio had not yet fielded an African American combat unit, but Ohio African Americans were being recruited for service in the regiments of other states. He enlisted from Cincinnati on June 7, 1863, for a three-year term of service; he was among a group of men recruited for a Massachusetts regiment. He joined as a private but was promoted to sergeant. He was placed in charge of a squad of forty-seven other recruits and ordered to report to Columbus, they were sent to Boston. The Massachusetts regiments were full and unable to accept their service. The Governor of Ohio requested permission from the Department of War to form an Ohio regiment of African Americans. On June 17, he and his squad became the first members of the 127th Ohio Volunteer Infantry, re-designated the 5th US Colored Troops. After three months of recruitment and organization in Camp Delaware, on the Olentangy River outside of Delaware, Ohio, the unit set out for Virginia.

He was born into slavery in Richmond. He moved to Cincinnati in 1849, where he received an education. He gained his freedom sometime on or before April 19, 1861; the exact date is unknown. He developed an interest in theater and made his public acting debut at a school concert. He was apprenticed to an African American cabinet maker and worked as a turner. He continued to study acting and received training in the field from several coaches.

He became an orator and actor, appearing in amateur theater productions in his home of Cincinnati. His well-known stage performance was an 1884 appearance at Ford’s Opera House.

He returned to Cincinnati and raised his family. His son, A. Lee Beaty, became an Ohio state legislator and an assistant US District Attorney for southern Ohio. #africanhistory365 #africanexcellence

[handeaux]

For More That Twenty Years, Billy Guthrie Fought The Law, But The Law Won

Billy Guthrie built a career flouting the legal authorities. He spent almost as much time in Cincinnati’s courtrooms as he did in his notorious saloons. He died, apparently unrepentant, having created a Cincinnati legend that stretched from the Gay Nineties into Prohibition.

If you had asked William W. Guthrie, he would have claimed to be a put-upon proprietor of some humble cultural establishments. If you asked Cincinnati’s progressive reformers, Guthrie was the devil incarnate, spewing vice and degradation from the noxious hellholes he referred to as “concert halls.”

For the first decade of the Twentieth Century, Guthrie operated a disreputable resort named The Fashion on Opera Place, just off Vine Street below Sixth Street. Allegedly, the building had once housed a synagogue. The Cincinnati Post [16 March 1910] captured the atmosphere and allure of The Fashion:

“The patrons of The Fashion are neither lovers of good music nor dancing, and they do not go there for either. Between the acts at The Fashion the women performers can be found drinking with the men at the tables in the loges. Their value to the house is purely in the drinks that men buy for them. They prefer bottle beer and mixed drinks. They sit at the tables in their short stage skirts and can be seen from the outside.”

While the crusading Cincinnati Post sputtered in indignation, Guthrie operated without any interference from the authorities so long as the city was controlled by George “Boss” Cox and his minions. Guthrie owned a city “concert hall” license and waved it in the face of anyone who suggested that his dive was anything but that.

In 1910, a reform-minded Republican, Henry Hunt, was elected county prosecutor despite Boss Cox’s obstruction. He launched a campaign against gambling and vice and was so successful that he was later elected mayor and even prompted Boss Cox to issue a public statement that he was retiring from politics.

While Hunt may have rattled The Boss, Billy Guthrie shrugged off Hunt’s efforts to shutter The Fashion. Hunt saw to it that Guthrie’s concert hall license was not renewed, but the saloonist quickly adapted. According to the Cincinnati Post [14 August 1911]:

“Guthrie’s place was formerly licensed as a concert hall. The license was taken away from him and now he is running the same kind of hall without a license. Formerly, Guthrie employed singers, who, when they did not sing, ‘sat in’ and promoted the sale of drinks. When his license was revoked Guthrie abolished the singers and installed an orchestra. Presto! It ceased to be a concert hall, but became merely a saloon with a music box.”

This “saloon with a music box” continued to employ women of negotiable affection who greeted their admirers and encouraged them to buy abundant drinks. While they no longer sang on The Fashion’s stage, it was reported that they hummed along with the popular tunes performed by the “orchestra,” which was usually a piano accompanying a violin.

While Guthrie jousted with the Cincinnati reformers, he took out a sort of insurance policy by opening another saloon outside the city limits, almost directly across from the entrance to Chester Park. Chester Park itself usually attracted a mainstream clientele with a variety of rides, a huge lake for swimming and boating and theaters staging opera and musical comedy. On occasion, Chester Park brought in a very different sort of customer when it hosted prize fights that were illegal in Cincinnati. The whole area around Winton Road and Spring Grove Avenue had not yet been annexed to the city and was colonized by saloons eager to escape Cincinnati’s more restrictive regulations. The Post christened that neighborhood “The Wicked Strip” and Billy Guthrie fit right in.

In 1910, motion pictures were still a very new medium, inspiring some legislative reactions we find amusing today. For example, as noted, prize fighting was prohibited within the Cincinnati city limits. Apparently, the city administration saw no difference between real pugilists pounding each other in the ring and cinematic boxers pounding each other on the silver screen. So, indeed, Cincinnati prohibited motion pictures showing prize fights.

Billy Guthrie was happy to provide a venue for a film capturing the highlights of what was then billed as “The Fight of the Century” between the first African American heavyweight champion Jack Johnson and the former heavyweight champion James J. Jeffries. The Post [26 August 1910] went apoplectic:

“The whole country rose in opposition to the Jeffries-Johnson fight pictures. Mayor Schwab prohibited them. The pictures were driven out of Covington. Banished everywhere in the neighborhood, they found a wide-armed welcome in the Wicked Strip that knows no law and doesn’t care. The pictures were placed on exhibition in Guthrie’s Avenue Theater – Guthrie being the man whose disreputable Fashion Concert Hall on Opera-pl. has been driven off the street by the force of public sentiment.”

Billy Guthrie found that the wages of sin provided quite a comfortable income. It’s a toss-up whether his name appears more often in the criminal court logs or the real estate columns of the newspapers. Back then, with banks regularly going insolvent with no deposit insurance, land was where people parked their cash. Guthrie bought or sold a parcel or two almost every week.

Curiously, it seems that Guthrie, an otherwise savvy businessman, was a poor judge of character. On at least two occasions, it was reported that he posted bail for a defendant (presumably one of his customers) who stiffed him by failing to appear in court. In each case, Guthrie forfeited more than a thousand dollars.

What the local constabulary could not do, national legislation achieved. The dawn of Prohibition marked the end of Billy Guthrie’s lucrative saloons. He made a half-hearted attempt to keep a dive bar going in the West End but was busted by federal agents and settled into retirement. Guthrie turned the Avenue Theater over to his son, who operated it as a more-or-less law-abiding café. The location, at the corner of Mitchell and Spring Grove, is now occupied by a car wash.

Billie Guthrie died, aged 66, in 1929 from a heart condition and is buried just down the road from the “Wicked Strip” in Spring Grove Cemetery.

[laboulaie]

Todd may have come back to Llanview for Téa, but there was a time when Blair was the one who turned his head. Alas, during his most recent visit to Llanview in February, Todd never even spoke to his former spouse. “I’m glad he got [Digest’s] ‘Performer of the Week,’ says Kassie DePaiva, “but I think the OLTL writers missed an opportunity.”

When Todd first met Blair in 1994, they were drowning their sorrows at Rodi’s - and he eventually got her to sing. In fact, the only two times DePaiva has sung on OLTL have been at Todd’s behest. “I sang a song I wrote first,” recalls DePaiva. “Later, I sang a Jefferson Airplane song called ‘Today.’ Yuck!���

But the missed chance to reunite Blair and Todd makes DePaiva sad. “Todd was here for a full week,” she says. “He’s an excellent lurker - no one lurks like Todd. But it’s unfortunate that they only told one side of the story. Todd rocked Blair’s world. There’s a lot missing between them - and I think the fans are still waiting for that.”

- Soap Opera Digest (2000)

[Luckily, Roger Howarth would return to the show shortly after. He had those first scenes back with Kassie DePaiva, once against at a bar but this time in Cincinnati. The show slowly reunited Todd with Blair and had her sing to him twice more in 2002]

[hooded-hawks]

burt fabelman headcannons :-)

Note: None of these are romantic or sexual, these are just silly ones i have about him. This is also REALLY LONG because i am normal and totally not hyperfixated

· BASEBALL DAD!! He loves baseball, anytime he was free and had the money, he’d take Mitzi and the kids to go see a game. usually roots for the home team unless they’re playing the cincinnati reds, then he roots for them. Tried to catch a baseball once and it ended up smacking him in the face and giving him a black eye for a week

· won multiple science fairs as a child

· 4.0 GPA throughout his entire school career, even during college

· He LOVES purim, he always gets dressed up and made Mitzi wear matching costumes with him for multiple years in a row

· bisexual.

· HATES hot weather, despite living in california. He hates having to mow whenever it’s 85° or hotter, doesn’t like to get sweaty

· Autistic, i can see him having OCD as well

· Modern orthodox, he’s fairly frum aside from a few things and keeps kosher almost all the time

· absolutely loves ice cream, he goes to ice cream parlors all the time. his favorite flavor is chocolate

· he’s fluent in english, ukrainian, yiddish and hebrew, and he knows some basic words in ladino and judeo-arabic after he got hyperfixated on jewish languages in high school

· he’s fairly left leaning, and considers himself bundist aligned, although he disagrees with them on the antitheism and yiddish being the main jewish language. votes democrat almost 100% and is apart of a labor union

· very rarely calls mitzi pet names outside of “mitz”, the occasional “honey” or “sweetheart”, and a few yiddish ones here and there (מײַן לעבן). he finds most others cringe worthy

· he loves going to diners when on road trips, it’s one of his favorite things to do. they always go to at least one they haven’t been too before whenever the family goes on a trip

· went to disney land with Sammy and the girls soon after it open, and ended up enjoying it more than they did (he was fascinated with roller coasters and all the tech in the park)

· spent a lot of his time in the library in his university

· after the divorce, he and mitzi stayed close friends, they write to each other after mitzi moved to Arizona, but it took a while for Burt to move on from her

· The kids would call him “daddy”, “dad”, “tatti” or “tateleh” when growing up, he honestly didn’t care what they called him, but now they all just call him dad

· him and Mitzi ended up at a drag show on their night out and the entire time he just stared in awe

· bear, sorry not sorry

· loves cruises although he rarely goes on them. he loves the ocean as long as he isn’t on the beach (he absolutely hates sand and has to wear socks and sandals when he’s there)

· started bawling his eyes out at Sammy’s graduation and had to go to the bathroom to calm down, only to come back out and cry again when Sammy hugged him

· doesn’t travel outside the us much simply because he’s kinda scared of planes. He usually only does it for work. if he cannot drive there, he probably hasn’t been

· He honestly loves going to the movies with his family. Even if he was resistant to Sammy perusing it as a career, he loves movies, and he loves movie theaters

· He also really enjoys opera and theater shows, mostly because Mitzi performs in them occasionally. But he also loves yiddish theater, unfortunately there’s not a whole lot of performances he’s been too.

· After the divorce, and he ended up getting his own house (either on his own or with a partner), he took up gardening. He also really enjoys flowers, he has multiple types growing in his front and back yard

· his favorite soda is cream soda or root beer floats :-)

[alostchord]

Okay, just saw the Cincinnati Opera's performance of Il Barbiere di Siviglia a few night ago, and I really needed these past couple days to let it set in just how GOOD it was.

(As an aside, fun fact: this was one of Cincinnati opera's first sold-out performances in several seasons)

So, first of all: the performance was absolutely HILARIOUS. Like, the audience was laughing our rears off all night long.

The sets and costumes were SO well done.

Now, to the cast:

Rodion Pogossov nailed it out of the park, even from his first entrance. Having him enter from the front entrance of the theater and walk up to the stage was a hilarious touch, and I kinda wish they did more with that throughout the production.

Alasdair Kent as the Count did a fantastic job, holy crap. He nailed this role so well. I especially loved his performance of "Ecco Ridente" in the first act. My only problem with his performance was that he didn't get to sing "Cessa di più resistere", as it was cut from this production, but I'll get to that. Besides that tiny nitpick, he was incredible

However, the person who really stole the show was Kendra Beasley as Berta. You wouldn't expect it from the maid character, but her character truly stole the show. Like, to the point that, during the applause at the end of the show, we all started giving a standing ovation once she came out. She sang and acted the role excelently, all while being hilarious throughout.

One thing about this performance was how hilarious some of the musical gags were, specifically during the recitative. There was one point when Dr. Bartolo and Don Basilio came out where the harpsichordist played the imperial march from star wars. Another funny gag was one point where Bartolo and Berta made extended eye contact, to which the harpsichordist played the first couple note of the prelude to "Tristan und Isolde".

Now, as I was saying, my one nitpick of this performance is the cut of "Cessa di più resistere". While I understand that some people don't like the aria that much, I feel as though it could've helped this performance. Without it, I felt as though the ending came a bit quickly and abruptly. I may also be biased, though, as I am a tenor and would have liked to hear that marathon of a tenor aria. Oh, well.

Overall, I loved this performance, and so did both of my friends who came along. For one of my friends, it was her first time at the opera, and I do not think that I could have picked a better first opera (She loved it).

I can't wait to see what the Cincinnati Opera has in store for next season!

[tyforthevnm]

L.S. Dunes have announced a North American summer tour

“Beat the heat and trip out with LSD this summer!” encourages drummer Tucker Rule of L.S. Dunes’ newly-announced live dates…

May 9, 2023 Words: Emily Carter Photo: Nick Demarais

As well as playing several dates on the upcoming Sad Summer Fest, L.S. Dunes have announced their own headline run.

The band – guitarists Frank Iero and Travis Stever, vocalist Anthony Green, bassist Tim Payne and drummer Tucker Rule – will be hitting the road across North America in July and August, kicking things off after Sad Summer at Toronto’s The Opera House and wrapping up at The Garden Amphitheatre in Garden Grove, California.

“Lost Souls!” begins Tucker. “Beat the heat and trip out with LSD this summer! Comin’ to a city near you!”

Tickets go on general sale at 12pm local time this Friday, May 12.

Catch L.S. Dunes at the following:

May

28 Atlantic City, NY – Adjacent Music Festival

July

6 Jacksonville, FL – Sad Summer Fest 7 Clearwater, FL – Sad Summer Fest 9 Nashville, TN – The Basement East 11 Portsmouth, VA – Sad Summer Fest 12 Baltimore, MD – Sad Summer Fest 13 Toronto, CAN – The Opera House 15 Providence, RI – The Strand 17 New York NY – Irving Plaza 20 Pittsburgh, PA – Mr. Smalls Theatre 21 Cincinnati, OH – Bogart's 22 Detroit, MI – Saint Andrew's Hall 24 Milwaukee, WI – The Rave Bar 25 Des Moines, IA – Wooly's 26 Omaha, NE – The Waiting Room 28 Fort Collins, CO – Washington's 30 Boise, ID – Knitting Factory

August

1 Portland, OR – Crystal Ballroom 2 Seattle, WA – The Showbox 6 Los Angeles, CA – The Fonda Theatre 9 San Francisco, CA – The Fillmore 11 Garden Grove, CA – The Garden Amphitheatre

[onthepyre]

weekly tag wednesday - thanks to @transsexual-dandelions and @mickeym4ndy <3

name: june

age: 18 (19 in less than two weeks)

astrological sign: gemini

upon which continent do you reside: north america

tell us how you're feeling right now using 3-5 emojis: 🙃😐😶‍🌫️🤒

what's your favorite flavor of gum? mint. or whatever im not picky about it

what's the last movie you watched? repo! the genetic opera (it's bad! everyone should see it)

what was your worst subject in high school? government. mostly because i hated it

what was the job you stayed at for the shortest period of time? i worked concessions at the local pool last summer. started early june and left at the end of july (before the season was over) because i injured my knee really badly

what's your favorite thing to do at an amusement park? rollercoasters and eat food made of sugar and nothing else

what condiments go on the perfect hotdog (meat or plant based)? hot dogs shouldn't exist. final answer

cincinnati chili, thoughts? bad

do you sleep with a plushie? yes

what do you think about thunderstorms? love them love them love them. my area doesn't get big ones anymore like we did when i was a kid and i miss it

what's the last animal you touched? my dear baby cat kevin

grab the item nearest to you that ISNT a book and share the final word: china. the back of a photo frame

have you ever forgotten to do an assignment until the night before it was due? babe ive forgotten assignments until they get graded. im good at academics but not scheduling

open tag <3 play if you wanna